The Killer's Ancient Mask: Unity and Dualism in Shepard's The Tooth of Crime
Those lines from The Doors's 1967 haunting rock classic, "The End," point directly toward the violence that defined the conflict between the generations during the Viet Nam era. A Killer, identified as both a Young Man and a Son, walks on down the hall to a confrontation with the Fath...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Interlibrary Loan: | Interlibrary Loan for the Fachinformationsdienste (Specialized Information Services in Germany) |
| Published: |
1993
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| In: |
Modern drama
Year: 1993, Volume: 36, Issue: 1, Pages: 48-60 |
| Further subjects: | B
Girard, René (1923-2015)
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| Online Access: |
Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
| Summary: | Those lines from The Doors's 1967 haunting rock classic, "The End," point directly toward the violence that defined the conflict between the generations during the Viet Nam era. A Killer, identified as both a Young Man and a Son, walks on down the hall to a confrontation with the Father he wants to kill, a confrontation that takes us to "my only friend, the end ... I The end of laughter and soft lies, I The end of nights we tried to die," an end that erupts in an orgasmic communion of music and violence. If even a cursory examination of rock-and-roll music reveals a structural teleology pointed toward violent rebellion, then we should suspect that a rock play like Sam Shepard's The Tooth of Crime will be structured around the same telos. |
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| Item Description: | Comment(s): References to "Violence and the Sacred" |
| ISSN: | 1712-5286 |
| Contains: | Enthalten in: Modern drama
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| Persistent identifiers: | DOI: 10.1353/mdr.1993.0044 DOI: 10.3138/md.36.1.48 |
